A didactic unit about women and cinema

Transcription

1 A didactic unit about women and cinema Título: A didactic unit about women and cinema. Target: 1º Bachillerato. Asignatura: Inglés. Autor: Gloria Pérez Peirats, Licenciada en Filología Inglesa, Profesora de Inglés en Educación Secundaria. The cinema is practically made by men and is a directed gaze. This teaching unit will try students to learn about external factors affecting films as production and social context; cinematic codes to analyse: the sequence, the photographic image, the staging, the mobile frame (close-ups, medium shots,...), and assembly. We will build a teaching unit using a film as part of an English class. The instrumentality of English language will help us to treat education for equality between men and women, and simultaneously implement grammatical structures and vocabulary learned in the ESO, as well as writing and speaking skills in English We will watch the film Dracula by Francis Ford Coppola in English, and will do some activities that are shown below. This didactic unit is designed for students at 1st of Bachillerato. They are between the ages of 16 and 17 years old, and it involves the subject of English language. They will be working in a group of five people. As a result of this didactic unit students will learn: GENERAL OBJECTIVES Understand general and specific information from a film Express and interact in a foreign language with some autonomy level Write simple texts efficiently Sensitize students about gender stereotypes of most images Develop in students the ability to read images Make them aware of the role played by the image in the construction of themselves Enable boys and girls to be free from the stereotypes imposed by the dichotomous division between genres SPECIFIC OBJECTIVES Write a brief film review Participate in a debate using speaking time democratically Talk about specific questions related to technical details about the film CONTENTS Talk about the different roles between men and women in a formal presentation Understand their classmates presentations for the correct development of the class 125 de 174

2 Interact in the final debate and with their classmates when working Understand the information they search on the Net about the film review Write a film review Organisation and autonomous use of learning resources such as search engines, ICT tools, reference books, Participation in activities and group work Confidence and initiative to express themselves in public and in writing KEY COMPETENCES In our didactic unit we are dealing with all the most important competences for the English language. They are: Communicative competence Information process and digital knowledge Social and civic competence Learning to learn competence Personal initiative and autonomy competence Students must develop them to achieve personal realisation, to think like adults and continue learning throughout life. METHODOLOGY The goal as teachers is to allow our students to become communicatively competent and to see beyond the images in a film. They will be more motivated to study English if they feel that they are learning to do something useful with the target language. Moreover, thanks to the film our students will be exposed to authentic English language. EVALUATION CRITERIA We will follow this grid: 126 de 174

3 Developing 1 Accomplished 2 Excellent 3 Score Content The information required has been obtained partially The information is complete and acceptable The information is complete and excellent Lay out They haven't taken enough care with the lay out The lay out is acceptable Very clear, well structured and visual Oral presentation Difficult to follow Clear but they didn't get the audience involved They captured the audience's interest and prepared activities to involve it Cooperation within the team Too much individual work The cooperation is visible; the individual sections are not well linked The individual sections are well linked to each other and the result is a well structured collaborative work TOTAL SCORE: /12 TIME Four sessions of 55 minutes each one. 127 de 174

4 WOMEN AND CINEMA SESSION-1 Before watching the film, the teacher begins with a warm-up activity. 1. Warm-up activity: a) Do you like cinema? b) Which was the last film you watched? c) Do you know what are we going to do in this class? After that, they begin to watch the film. Students will finish to watch the film. SESSION-2 Then, the teacher asks the students to write the film review for homework. They have to complete the model below. 3. Homework. Complete the following review about the film. FILM REVIEW Title of the film: Director: Genre: Country: Year:. Main characters:. Theme:.. Plot:. 128 de 174

5 SESSION-3 The teacher explains some of the features of film texts and how to analyse a sequence according to John Fish. Firstly, students need to know what a sequence is in order to choose it and analyse it. So, according to Wikipedia a sequence is a series of scenes that form a distinct narrative unit, which is usually connected either by unity of location or unity of time. John Fish says that any televised or filmed event is codified in three different ways: visual, technical and ideological code. HOW TO ANALYSE A SEQUENCE OF A FILM VISUAL CODE reality TECHNICAL CODE performance IDEOLOGICAL CODE ideology - Appearance - Prop - Costume - Make-up and Hair styling - Use of colour - Camera work Close-ups Medium shots Long shots High angle Low angle - Lighting - Sound Sound effects Music Dialogue Voice-over Silence - Individualism - Patriarchy - Race - Social class - Materialism - Capitalism - Feminism - Masculinity - Gender identity E.g. The sequence when the vampire bites Lucy. VISUAL CODE: Here the most important element is the blood, and everything is related to it, for instance Lucy s hair and dress are red. Furthermore, we find a cross-cut shot showing some blood seen through a microscope. It gives tension and unity to the sequence. Finally, Lucy is represented with sensual and voluptuous movements. Although the female character is the vampire s victim, she is represented as a danger, a temptation. TECHNICAL CODE: there is a contrast between light and darkness. Darkness is outside the house and it means danger to the unknown, whereas we find a pale light inside the house. This is half security. Then, we watch some close-ups of Lucy and the vampire s bite. Once again, the female character is seen as a defenseless and very feminine woman, in other words, we see her as a sexual object and an easy press. Moreover, we hear wolves howling and Lucy s wailings. The sound of the wolves increases the tension and Lucy s wailings show temptation. IDEOLOGICAL CODE: we are in a patriarchal society. Lucy is represented as a defenseless woman helped by two men when she is bitten. At the same time she is seen as a big danger for herself and society because she shows too much sensuality and voluptuous movements. Furthermore the blood exchange is related to nowadays diseases like AIDS. 129 de 174

6 Students participate in the following debate. 3. Students try to participate in the following debate: a) Which functions does the female characters have in the film? b) How are they represented from a visual point of view (colour, light, )? How are they framed by the camera? c) How is the end? Has it implications for the female character? d) Can we show a woman without being a sexual object? e) Can a woman be happy without finding her charming prince? 4. Homework After thinking about the debate s questions, students have to analyse a chosen sequence of the film according to the teacher s explanation, and showing how women are treated in the film from a gender perspective. SESSION-4 Students will submit the review of the film to the teacher and will present the analysis of the chosen sequence to the rest of the class. Bibliografía Bignell, Jonathan (1997): Media Semiotics: An Introduction. Manchester, Manchester University Press. Bordwell, David (1989): Making Meaning: Inference and Rhetoric in the Interpretation of Cinema. Cambridge, MA: Harvard University Press. De Lauretis, Teresa. (1984): Alice doesn t. Feminism, Semiotics, Cinema, Bloomington, Indiana University Press. Hayward, Susan (1996): Key Concepts in Cinema Studies. London, Routledge. Hodge, Robert & Gunther Kress (1988): Social Semiotics. Cambridge: Polity. Kaplan, E. Ann. (1990): Women and Film: Both Sides of the Camera, New York, Routledge. Konigsberg, Ira (1987): The Complete Film Dictionary. London, Bloomsbury. Kuhn, Annete. (1992): Women s Pictures:Feminism and Cinema, New York, Verso. Sobchack, Thomas & Vivian C Sobchack (1980): An Introduction to Film. Boston, MA: Little, Brown & Co. Stam, Robert (2000): Film Theory. Oxford, Blackwell. Tudor, Andrew (1974): Image and Influence: Studies in the Sociology of Film. London: George Allen & Unwin. 130 de 174